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  1. For completeness I should have said that there was rapturous applause at the end of last night’s performance and it was great to see Osipova and Hallberg visiting both sides of the stage to acknowledge the audience with the house lights lit.
  2. And there I was thinking you were referring to the three works being performed ‘together’ ie at the same time.
  3. I think similar wording is used for the earlier Triple (but I might be missing the point): https://www.roh.org.uk/tickets-and-events/live-fire-exercise-prodigal-son-corybantic-games-details
  4. Double Manon yesterday and I’m delighted to read so many effusive comments about the matinee performance. The quality of the entire cast made this one of those very special performances where it’s such a privilege to attend (a bit like the fabulous Romeo & Juliet Corrales/Hayward cast which was so well matched). Much to admire in the evening - particularly Osipova’s Act 2 solo. But I don’t quite get the journey her Manon takes as Osipova seems too knowing from the outset. Hirano was very good but I find his drunk scene a bit too over the top. A lot of Hallberg’s dancing was very fine, particularly the solos, but I thought there was an unsteadiness at times and more tellingly some of the partnering didn’t have that security and assurance that Campbell displayed earlier (Act 3 particularly). And I’m afraid I was often wondering what Hallberg was doing on stage in various scenes when not dancing and when he seemed a bit aimless to me. Look forward to reading others’ posts.
  5. Having complained about the difficulties in accessing News items, I was pleased to find the Forza thread pretty easily (searched for Viagogo) and thought it might be of interest given the disappointing Fidelio news: https://www.roh.org.uk/news/la-forza-del-destino-the-royal-opera-houses-position-on-viagogo A number of questions were asked, including the 20% minimum general public allocation, but the questions were not answered. My understanding (but never confirmed) is that the 20% is an average for the season. If that is the case it seems unfair. Also the Royal Opera House should be much more forthcoming in answering questions and making explicit its policies. Hopefully the ROH will cancel any Friends’ memberships if tickets are put up for resale (and I know some memberships were cancelled over Forza resales).
  6. I think the Morera/Bonelli partnership one of the Royal Ballet’s finest jewels. I take it that’s the highest praise.
  7. Sorry not to see the photos although I do understand the decision. Can’t help but recall a previous class when Bennet Gartside took lots of photos and posted them on Instagram - but of the audience.
  8. People’s Vote march is Park Lane 12:00 to Parliament Square 2:00 and Covent Garden is not included in the route. No doubt central London will be busy.
  9. I like some of the new design but that scarcely registers given the loss of what I consider to be essential functionality. The old website worked extremely well and I thought supported very effectively the work of the Royal Opera House. It also engaged many audience members with News providing a forum for debate.
  10. It strikes me that until the ROH addresses the criticisms made (both on this thread and the earlier ‘New’ Royal Opera House), we have no evidence that the ROH is listening other than bangorballetboy’s assurances which of course I’m pleased to note. Criticisms were voiced about the poor calendar ever since the website redesign which is now getting on for 12 months. Website News has been very much relegated in importance and it is not straightforward accessing that treasure trove of past news articles. Whilst I have always liked the new design, the loss of functionality remains a serious criticism and I look forward very much to seeing that functionality restored. Until then, it seems fair comment to me to continue to express criticisms. That said an update from the ROH saying what’s planned and when would help and might reduce criticisms.
  11. Many thanks Dave - but how would anyone visiting the site know that’s the best way to access a sensible calendar? The ‘calendar’ filter on tickets and events is not great as you have to look at every item to find performance times. Why should it take 10 clicks/characters (search, calendar, select) to get to a helpful calendar that was readily accessible prior to the upgrade? The debate was all about making life easier for new audiences to book Manon.
  12. Whilst not wishing to move too far away from Manon, I’m afraid the absence of a sensible calendar really detracts from the website. If planning a trip to see a couple of Manons, I also want to know what else I can readily fit in during a visit. The website used to have a very simple, readily accessible calendar. That has gone from the new website although I accept that old links (kindly highlighted by various posters here) are available. But they are not accessible via the new website (unless I’m missing something). Back to Manon and looking forward immensely to Saturday’s double performances, my first visit this season. I’ve gone for the Hayward, Osipova, Morera and Takada casts this run.
  13. Richard’s Link above works for me but I have only seen the introduction so can’t answer your other questions other than Mayara Magri, Tomas Mock and Benjamin Ella are dancing, with Christopher Saunders coaching.
  14. Last word on Tristan - more than 100 seats having to be heavily discounted; say £50 per seat; £5,000 per performance; 5 performances; a broad brush £25,000 Box Office revenue forgone. And how satisfied will audience members be with the poor view even with the discounts? I’m tempted to say all for the vanity of the producer but not yet having seen the production perhaps that’s a bit unfair? I’m hoping to book for this Spring and will certainly choose my seat with care.
  15. It also emphasises the need for the production team to take a proper look at the production from all aspects of the theatre - not just central stalls/grand tier. This seems to be a perennial problem that could so readily be sorted.
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